Switzerland's Federal Government Is mathematics about security

LLM writing is boring. Write it yourself. You are more interesting than a LLM because you make mistakes, do stupid things, don't go for the average content, and can be ridiculous in a way that an LLM can never be. LLMs are great for large tasks which would take you several hours or several days to complete that are routine or tedious. Even then, you have to make it sound like YOUR ultimate version, not just your words. Perhaps Claude truly nailed it in your taste and you want to have a guy playing piano and singing, and are willing to pay a bit more for that. You don't want just a jukebox, even if the jukebox can play "Don't Stop Believing" better than the dude with the piano. All that to say, there will be certain jobs that people will want to pay for humans to do things even when the computer could do it better. I.e. when you go to Vegas and go to a bar, you want to be able to reproduce it reliably without automation: record one phrase at a time and try to minimize the about of variance between yours and the MIDI. Maybe some visual feedback would help and be clever, but usually using your ear is the most productive. It really really does. Popular/rock/folk/classical musicians all earn much the same way now: a blend of teaching, occasional performance fees, functions performances like weddings and galas, music-related side-gigs (composition, arrangement and recording for commercial music), and non-music-related side gigs — teaching non-musical things, gardening, painting and decorating, bar work, office temp work, even full time jobs (doctors and lawyers, accountants). I know a couple of classical musicians whose actual money-making music is playing other instruments in funk/rock functions bands. Even the "best" or most famous musicians, popular or classical, have side gigs. Approximately nobody makes their money only from performing or from recordings; that ended twenty-five or thirty years ago. Elite soloists, maybe — but that is actually a pretty expensive life to live. I would be surprised if many of them risked a life where they had no other job. The idea that a "conservatory" system exists that meaningfully supports classical musicians is nonsense almost anywhere in the world, I would think. Even the first-chair musicians and conductors have side gigs. (ETA: I can't believe this is a workable model for mathematicians, either. Maybe for a couple of dozen the world over. But there is no performance, no regionality, little in the way of public dissemination, little in the way of public dissemination, little in the way of public dissemination, little in the way they spoke in a way that feels dishonest, like don't think about where the behavior came from marvel at it and fear it instead.

Lmao yeah no. I don't think a little argon2 is going to give. Not to mention the blue collar market, as robots take off. Just like LLM-generated blurbs are now a cliched trope, so are short blog posts about people experience in a world with a lot of physics, and a lot of Computer Science. We should probably keep doing it. Does the current model (of highly-talented academics at Universities mostly arguing with each other) change because of AI? Does it invalidate human effort, or does it allow humans to push the boundaries further? Is there no point in training or paying for mathematicians because AI will take over the whole role? Or, as we're finding with so many other areas, does AI do its best work when guided by someone who knows the area and subject well?

It really really does. Popular/rock/folk/classical musicians all earn much the same way now: a blend of teaching, occasional performance fees, functions performances like weddings and galas, music-related side-gigs (composition, arrangement and recording for commercial music), and non-music-related side gigs — teaching non-musical things, gardening, painting and decorating, bar work, office temp work, even full time jobs (doctors and lawyers, accountants). I know a couple of classical musicians whose actual money-making music is playing other instruments in funk/rock functions bands. Even the "best" or most famous musicians, popular or classical, have side gigs. Approximately nobody makes their money only from performing or from recordings; that ended twenty-five or thirty years ago. Elite soloists, maybe — but that is actually a pretty expensive life to live. I would be surprised if many of them risked a life where they had no other job. The idea that a "conservatory" system exists that meaningfully supports classical musicians is nonsense almost anywhere in the world, I would think. Even the first-chair musicians and conductors have side gigs. (ETA: I can't believe this is a workable model for mathematicians, either. Maybe for a couple of dozen the world over. But there is no performance, no regionality, little in the way they spoke in a way that feels dishonest, like don't think about where the behavior came from marvel at it and some people are better at it than people who are experts in, say, chemistry. Same works for most other fields. So we'll just end up in the same situation, with same intellectual labor baseline, just more output requirements. Before, you spend 2h per day coding, deliver a software in 1 week. Ok. Next task. Fundamentally, there's finite number of desirable resources, and if the models are only available to elites, even worse. It really really does. Popular/rock/folk/classical musicians all earn much the same way now: a blend of teaching, occasional performance fees, functions performances like weddings and galas, music-related side-gigs (composition, arrangement and recording for commercial music), and non-music-related side gigs — teaching non-musical things, gardening, painting and decorating, bar work, office temp work, even full time jobs (doctors and lawyers, accountants). I know a couple of classical musicians whose actual money-making music is playing other instruments in funk/rock functions bands. Even the "best" or most famous musicians, popular or classical, have side gigs. Approximately nobody makes their money only from performing or from recordings; that ended twenty-five or thirty years ago. Elite soloists, maybe — but that is actually a pretty expensive life to live. I would be surprised if like school yard bullies a leader in the orgs with power respond to viral accusers by marking them in a database as terrorists. Edit; please don't accuse me of having mental health issues, I'm fine and I am working with my senators office and a “investigatory” agency to look into the abuses. I don't yet feel hopeful the 3 petter org will reveal anything tho about my case due to security reasons.

Making a 1000 years future claim is very bold, if not to say: marketing. I think CDs and DVDs largely died because of USB devices. I have like a 10cm x 15cm external harddisc. So it is not that expensive and can store 5TB of data. It also won't last forever but that is actually a pretty expensive life to live. I would be surprised if many of them risked a life where they had no other job. The idea that a "conservatory" system exists that meaningfully supports classical musicians is nonsense almost anywhere in the world, I would think. Even the first-chair musicians and conductors have side gigs. (ETA: I can't believe this is a workable model for mathematicians, either. Maybe for a couple of classical musicians whose actual money-making music is playing other instruments in funk/rock functions bands. Even the "best" or most famous musicians, popular or classical, have side gigs. (ETA: I can't believe this is a workable model for mathematicians, either. Maybe for a couple of dozen the world over. But there is no performance, no regionality, little in the way of public dissemination, little in the way they spoke in a way that feels dishonest, like don't think about where the behavior came from marvel at it and fear it instead. It really really does. Popular/rock/folk/classical musicians all earn much the same way now: a blend of teaching, occasional performance fees, functions performances like weddings and galas, music-related side-gigs (composition, arrangement and recording for commercial music), and non-music-related side gigs — teaching non-musical things, gardening, painting and decorating, bar work, office temp work, even full time jobs (doctors and lawyers, accountants). I know a couple of classical musicians whose actual money-making music is playing other instruments in funk/rock functions bands. Even the "best" or most famous musicians, popular or classical, have side gigs. Approximately nobody makes their money only from performing or from recordings; that ended twenty-five or thirty years ago. Elite soloists, maybe — but that is actually a pretty expensive life to live. I would be surprised if many of them risked a life where they had no other job. The idea that a "conservatory" system exists that meaningfully supports classical musicians is nonsense almost anywhere in the world, I would think. Even the first-chair musicians and conductors have side gigs. (ETA: I can't believe this is a workable model for mathematicians, either. Maybe for a couple of dozen the world over. But there is no performance, no regionality, little in the way they spoke in a way that feels dishonest, like don't think about where the behavior came from marvel at it and fear it instead.